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Together with Giovanni Robbiano working with Turkish upcoming talents at the Pitching Platform during the Bosphorus Film Festival.
Projects:
„Snow and The Bear“ by Selcen Ergun (winner of the Pitching Platform) – „Anatolian Leopard“ by Orcun Köksal – „Not As You Know it“ by Vuslat Saraçoglu – „Class Curtain“ by First Reihen – „The Cycle“ by Erkan Tahhusoglu – „Gülizar“ by Öktem Basol & Belkis Bayrak – „Treasure“ by Canberra Yerguz – „Let Who Has the Most Grudge Cast the First Stone“ by Stil Inanc – „Final Hearing“ by Ümran After – „XLand“ by Kivilcim Okay, Tuncay Akgün

Accommodation in Berlin starting from 1 February 2020 – and ending 29 February 2020, including three working sessions with a well-known script consultant (2 in Berlin + 1 Skype session after the Berlinale) amd the accreditation for the Berlinale.The EWA scriptwriting residency and the script consultancy must be mentioned in the credits of the later film.
Fill in the application here ! We do not accept applications by email.
DEADLINE on October 15th

Suzanne Pradel is the script consultant attached to the programme. Suzanne is an international script consultant, lecturer and bookscout. For many years, she has been working as a script expert for several European Film Funds. In 2009 she founded the BUCHSCOUT AGENCY which specializes in novel-to-film adaptations as well as international script consultancy, developing sophisticated TV features and cinematic features.
Find more information: https://www.ewawomen.com/residency/
See the INTERVIEW with IVONA JUKA (director of YOU CARRY ME which has been awarded with 14 international awards and available on Netflix) talking about her experience working with me as a script consultant on her new project WOLF IN LAMBSKIN during the
(ewa) in Berlin- a great initiative to support female filmmakers.
https://www.ewawomen.com/ewa-network/ivona-juka-at-the-ewa-network-scriptwriter-residency/
It was great to work as a script consultant with the award winning screenwriter and director IVONA JUKA from Croatia (director of „You carry me“ on Netflix) on her new project during the „Female Scriptwriter Residency Programme“ of the European Womens´s Audiovisual Network (EWA) – a great initiative dedicated to supporting the next generation of screenwriting talents among EWA members.
It helps them to enter the industry with the best script possible by working on the strategic positioning of their project. Its purpose is to give a selected woman scriptwriter or director the opportunity to be mentored by the script consultant SUZANNE PRADEL, to work with her before the Berlinale and to attend the EFM at the Berlinale to make connections.
Photo: Anita Juka, Alessia Sonaglioni, Ivona Juka, Suzanne Pradel
Happy to work with the award winning Croatian writer/director IVONA JUKA (director of „You Carry Me“) on the new script for her Anti-War film.
Ono što je sestre posebno privuklo da priču o „Maslenici“ dovedu i na veliko platno, jest činjenica da još nije snimljen ni jedan igrani film o ovoj vojnoj operaciji te da je to bila pobjednička bitka, a dosad ni jedan hrvatski film nije obradio hrvatsku ratnu pobjedu. Redateljica Ivona Juka trenutno se nalazi u Berlinu na usavršavanju scenarija za navedeni film te proučava autentično gradivo iz Domovinskog rata kako bi se temeljito pripremila za ovaj novi veliki projekt o kojem nam je u razgovoru otkrila zanimljive pojedinosti.

Često se o „Maslenici“ govori kao o najkrvavijoj bitci Domovinskog rata u kojoj je u zadarskom zaleđu poginulo 127 branitelja. Možete li nam otkriti što će biti u posebnom fokusu filma? Hoće li to biti film o herojstvu? Scenarij se ne bavi cijelom vojnom operacijom „Maslenica“, jer je toliko opsežna da se ne može obuhvatiti jednim filmom. U toj bitci Domovinskog rata sudjelovali su branitelji s područja cijele Hrvatske i iz različitih postrojbi, a trajala je mjesecima, pa bi cijela bitka zahtijevala vrijeme tv serije. U mojem fokusu je trenutno područje Kašića i Novigrada, gdje su bili najžešći udari srpskih specijalnih postrojbi i nekadašnje JNA i gdje je bila ogromna razlika između hrvatskih i srpskih snaga. Fascinantno je kako su hrvatski branitelji uspjeli odbiti napade značajno nadmoćnih brojčano i po oružanju srpskih vojnika. Naravno, to je odmah priča o nevjerojatnom herojstvu. Međutim, želim napraviti i antiratnu priču, ali bez ulizivanja „tko nas zavadi“ i sličnih pamfleta, već s porukom o vrijednosti mira, mostovima suradnje, prijateljstva koje trebamo graditi sa susjedima Srbima, ali s dostojanstvom, ljubavlju prema svome i poštovanjem prema drugima. Ne želim napraviti film koji će biti samo puka besmislena akcija, s mnogo smrti koja ne vodi nikamo. Napokon, hrvatski branitelji su se i borili za mir.
Kako teku pripreme za snimanje, s kim razgovarate, izlazite na teren, rekonstruirate događaj? Jeste li možda razgovarali i s generalom Gotovinom?
Razgovarala sam s mnogim braniteljima iz različitih postrojbi, i pošto trenutno radim u Berlinu, nemam vremena pitati dopuštenje mogu li ih navesti. Osim razgovora u uredu, s pripadnicima 4. gardijske brigade, 3. gardijske brigade, 2. gardijske brigade i domobranima sam bila i na terenu gdje se odvijala bitka. Naravno, bilo je i sudionika drugih postrojbi. Izuzetno mi je dragocjena pomoć Danijela Kotlara, koji je svim srcem podržao projekt. On je jako zanimljiv čovjek, Zadranin, obrazovan, dragovoljac Domovinskog rata, poznaje umjetnost i ima sjajan ukus za glazbu, od rocka do jazza pa sve do soula, što je važno kad s nekim provedete mnogo vremena u automobilu, obilazeći lokacije gdje su se odvijale borbe. Preko njega sam upoznala još mnogo zanimljivih ljudi čija su mi svjedočanstva bila od pomoći da stvorim autentičnu sliku operacije. Mnogo mi je pomogao i Tihomir Bakarić, sudionik Maslenice, a također domaći s tog područja, koji jako dobro poznaje operaciju, teren i ljude.
Je li vas neka situacija ili osoba posebno fascinirala tijekom priprema za film?
Mnogo me toga me fascinira, ali ajmo ostaviti to za film.

Jeste li, ili možda tek namjeravate, razgovarati s pripadnicima srpskih postrojbi? Svakako, ali trenutno sam na stipendiji u Berlinu, gdje brusim novu verziju scenarija sa Suzanne Pradel, konzultanticom za scenarij, a koja vodi i uglednu agenciju za scenariste u Berlinu. Osim rada s njom, koji je vrlo intenzivan, ova stipendija je značajna, jer stipendiju dodjeljuju samo jednoj osobi godišnje, a u okviru programa, predstavit će naš projekt o „Maslenici“ u Berlinu njemačkim i stranim producentima, tako da se nadamo međunarodnoj koprodukciji. Čim se vratim iz Berlina, namjeravam kontaktirati ljude koji mi mogu pomoći da razgovaram s pripadnicima srpskih postrojbi. Do njih nije lako doći, ljudi se boje, nemaju povjerenja, ali meni zbilja nije namjera prikazati ih kao karikature niti kao psihopate. Uostalom, bilo kakvo ponižavanje protivničkih vojnika, ponižava i hrvatske branitelje. Hrvatski branitelji na Maslenici su se borili protiv vrlo obučenih i dobro naoružanih srpskih vojnika koji su bili opasni i jako dobri borci.
Koji je vaš dojam o dosadašnjoj produkciji filmova ratne tematike u Hrvatskoj? Hoće li se vaš film o Maslenici razlikovati od ostalih i po čemu posebno?
Nadam se da moj film neće ni malo sličiti na hrvatske filmove. Prezirem oportunizam nekih naših autora i već tu nema ni malo sličnosti između njih i mene. Trebate ih vidjeti na festivalima kad su daleko od zemlje, čuti što pričaju i kako opisuju ovu zemlju. Dok ih tako slušam kako su ugroženi, kako se tobože bore za ljudska prava, dođe mi da ih pitam: “Od čijih ste hrvatskih kuna napravili te filmove koji su tobože hrabri u Hrvatskoj?
Kako možete biti ugroženi od onog tko vas financira?“ Naravno, naučila sam da nema smisla da s njima raspravljam, radije ću uložiti svu energiju u film koji pripremam i pred kojim strahujem. Strahujem zbog opsežne i komplicirane, teške teme, strahujem, jer je silno skup, težak logistički, produkcijski iznimno složen i zahtjevan. No, branitelji mi govore „tko ti kaže da ga nije bilo strah, taj laže“. Strahujem, ali dat ću sve od sebe da ovaj film bude doista hrabar.
Je li već poznata glumačka postava ili bar netko od glavnih aktera? Što nam smijete otkriti?
Razmišljam o mnogim glumcima, ali još uvijek se ne bavim podjelom. To je tek preda mnom. No, glavni protagonisti će trebati proći vojnu obuku, jer je radnja iz perspektive vojnika na bojištu, pa će i to vjerojatno biti izazovno za neke glumce.
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We are pleased to announce that Lambs in Wolfskin, written by Ivona Juka, has been selected for the 3rd edition of EWA’s scriptwriter’s residency in Berlin. She will work with Suzanne Pradel who is the attached script consultant to the programme on her script.
The high quality and diversity of the projects submitted made the hard decision-making process both complicated and inspiring but we are also pleased to announce the other shortlisted projects.
Two best friends, members of a special military unit, Tomica (23) and Robert (23) are separated on the battlefield. They go off in different directions of combat, each leading their own group of soldiers. In fierce battle, the enemy gets closer and retreat is inevitable. Tomica sees Robert’s group returning, but Robert is not with them. He asks a soldier where Robert is, but nobody gives him an answer. Tomica heads off to search for his missing friend. He goes from battle to battle which do not stop for months on a broad battlefield. He joins various Croatian military troops who interchange with one another due to the intensity of the combat areas. The war for him becomes a quest too; he goes from village to village, through the wild, goes behind enemy lines and searches for his friend, – dead or alive.
Ivona Juka‘s most successful film is You Carry Me. This strong drama had its international premiere at Karlovy Vary IFF, it was invited to more than 20 film festivals around the world and been awarded with 14 international awards. “You Carry Me” was competing for the title of the Best European Film and it was also the official entry for the 88th Academy Awards®. During the Oscars® campaign, the film was applauded by Variety and The Hollywood Reported, which led to Netflix noticing the remarkable „You Carry Me“ and offering to buy world rights. In 2016, „You Carry Me“ became the first film, not only from Croatia, but from the whole region, to be bought by the gigantic VOD service – Netflix and at this point, it is available for 125 million people to watch. Ivona Juka is a member of the European Film Academy, represented by ICM talent agency in LA.
The EWA Network’s Scriptwriter’s residency programme has shortlisted the following projects:
Al Alba, a dramedy by the Spanish scriptwriter/ director Fany De La Chica.
The Great Adventure, a mystery drama by the Romanian scriptwriter/ director Cecilia Ştefănescu

Triana is a jazz singer who works at the famous club Paris Blues in Harlem (New York). Alcoholic and excessive, her songs express the feeling of lack of love that floods her life after the break up with her boyfriend. Triana’s grandmother is dying and she needs to travel to Spain. „Mama Lola“ used to be a famous flamenco singer and before she died, she claims that Triana needs to follow the tradition and become and flamenco singer. After her death, Triana receives in heritage a land with olive trees and she has to decide whether to go back to New York and pursue her dream as a singer or stay in Andalusia (Spain) and follow the tradition related with flamenco and olive oil.
Estefania de la Chica, nicknamed Fany, is from a city surrounded by olive fields called Jaen, in southern Spain but she’s based in New York. Her Mum and aunts learned how to become strong, independent women from her grandmother, as she, in turn, has. With the supoprt of scholarships, she has studied cinematography at the School of Cinema Studies of Catalonia, in Barcelona, a MA in Documentary at the Royal Holloway University of London and the MFA in Directing/Screenwriting at Columbia University of New York.

Lucia a 35-year- old woman, goes with her husband, their boy, and another couple, who are their friends, at the beach, in a Bulgarian village by the border with Romania. Delighted with the villagers’ hospitality, with the places and the nice weather, the four adults and the boy seem to be spending a restful, carefree and uneventful holiday. But the newly-arrived Vladimir, a man who also turns out to be from Romania, spending his holiday in the small Bulgarian village, comes to perturb the stability of the group. Although ostensibly a stranger to them, he is revealed to be acquainted with Lucia, who is reluctant to acknowledge her relationship with Vladimir. Concurrently with the stranger’s arrival, there is an unforeseen occurrence in the peaceful village by the sea: a local child disappears without a trace, which puts both the police and the villagers on the alert. The testimonies of the people who were the last to see the child indicate Vladimir might be involved in the disappearance. A web of guilt, half-truths and betrayals is woven around this unexpected couple, formed by Lucia and Vladimir, who at first seem not to know one another, but turn out to be connected by a common past and driven apart by the recent occurrences.
Cecilia Ștefănescu studied Literature at the Bucharest University, where she later took a master of arts degree in Theory of Literature and Comparative Literature.
In 2002, she made her debut with the novel Love Sick, which has been published in three editions. The novel has been translated into French, Italian, Polish and Spanish. Her second novel, Sun Alley, was translated in English. She wrote the script for Love Sick (2006) directed by Tudor Giurgiu, an adaptation based on her homonym novel. The film had the international premiere at the Berlin Film Festival.
Ferdinand 13, a short movie, was her directorial debut. The film won the special mention in Zagreb Film Festival. Morski Briz (2018), a short movie, was selected in Transilvania Film Festival, Sarajevo Film Festival, Central and Eastern European Film Festival.

Suzanne Pradel is the script consultant attached to the programme. Suzanne is an international script consultant, lecturer and bookscout. For many years, she has been working as a script expert for European Film Funds. In 2009 she founded the BUCHSCOUT AGENCY which specializes in novel-to-film adaptations as well as international script consultancy, developing sophisticated TV features and cinematic features.
The 3rd scriptwriter residency programme of the EUROPEAN WOMEN´S AUDIOVISUAL NETWORK is a great initiative dedicated to supporting the next generation of screenwriting talents among EWA members. It helps them to enter the industry with the best script possible by working on the strategic positioning of their project . Its purpose is to give a selected woman scriptwriter or director the opportunity to be mentored by the script consultant Suzanne Pradel, to work with her before the Berlinale and to attend the EFM at the Berlinale to make connections.
The shortlisted female scriptwriters for the residency 2019 are:
Spanish scriptwriter/ director Fany De La Chica with her script her dramedy „Al ALBA“.
Kroatian scriptwriter/ director Ivona Juka with her script antiwar-drama „LAMBS IN WOLFSKIN“
Romanian scriptwriter/ director Cecilia Stefanescu with her script for her mystery drama „THE GREAT ADVENTURE“.

Suzanne Pradel is the script consultant attached to the programme. Suzanne is an international script consultant, lecturer and bookscout. For many years, she has been working as a script expert for European Film Funds. In 2009 she founded the BUCHSCOUT AGENCY which specializes in novel-to-film adaptations as well as international script consultancy, developing sophisticated TV features and cinematic features.

Die Content Developer Katrin Merkel und Suzanne Pradel von der SerienScout Agentur haben ihre neuen Serienstoffe auf dem Seriencamp 2018 vorgestellt, darunter zwei Dramedy/Comedy Stoffe. Eine fröhliche Veranstaltung mit vielen netten Begegnungen. Danke an das Team des Seriencamps!